黑金杀机

    美版《富春山居图》啊有木有？又是神片一部！如此强大的卡司阵容（迈克尔•法斯宾德，布拉德•皮特，哈维尔•巴登，卡梅隆•迪亚茨，佩内洛普•克鲁兹）里难道就没一位在接戏前好好看过剧本么？导演在角色塑造上延续了“有钱人都是神经病”这一高大上传统，每个人物一出场都是一长段逼格甚高的文艺腔台词，透着劳资是个有故事的人呐，一副高深莫测巨有背景牛叉样，你们这么爱装X干嘛不去演《小时代》啊？台词里三句话不离有色话题，可画面上有料镜头却几乎看不到，一切光动嘴炮却不干真仗都是赤果果的耍流氓啊！导演你这么爱撩拨观众良心上过得去吗？哈维尔巴登不停地让我想起《扫毒》里的八面佛，法鲨和皮特叔的西装秀型到爆（这大概也是本片唯一的亮点了），而卡梅隆迪亚兹和佩内洛普克鲁兹两位阿姨则亲身诠释了什么叫做岁月不留情。2个多小时片长，前1.5小时我都硬撑起极大耐心默默忍受着导演各种天马行空的神剪辑和剧情逻辑，心想这或许会是一盘大棋吧，先前看到对影片的各种负面评价都是喷子们故意抹黑以及无法领会导演意图的智商硬伤。事实证明我图样图乃依无啊！结尾何止是个坑，简直就是破罐子破摔放弃治疗啊喂！友情提示：皮特叔的粉丝们看到2小时左右基本可以掐掉了，以免结尾留下心理阴影。

    后记——导演：雷德利•斯科特，代表作：《异形》《银翼杀手》《角斗士》《黑鹰坠落》《汉尼拔》《普罗米修斯》

    好累，感觉不会再爱了……

The counselor，电影名字的英文译名和我们中文译名完全表达的是两个意思，而且纵观两遍全片我也没有看出来黑金和杀机在哪？所以我觉得中文译名的译者也是没有看懂电影的基础上起了个名字？

看了烂番茄Imdb的各种影评之后回过来写自己的影评。
首先法鲨是个表现的很精于算计但是却非常懦弱的律师，或者说有熊心没有豹子胆。操着卖白粉的心但是实际上也没挣着卖白粉的钱，还引来黑社会的追杀把他爱的人都脱下了水。
我一直在想巴登叔的这个角色的设定，首先他是个土豪，而且是个挥霍下半身思考没大脑的土豪，从事的买卖也一直也游走于灰色地带。但是他这么多年没事儿还能坐拥美女家产甚至交了法鲨这样的好基友的原因不仅仅是RP爆棚吧？所以我觉得他多多少少还是应该有些黑涩会势力的，但最后却那么轻易的被ko的原因是？是因为他从来没有怀疑Diaz这个女人，觉得她只是个心狠手不辣节操无下限的女人？但是没两下子的女人怎么能hold住美洲豹当宠物呢？还是巴登的智商成了他继续活下去的障碍。
其实我觉得整部点一个整部电影想要表达的就是不要看轻女人，有点红颜祸水的赶脚。
譬如说法鲨就是penelope间接害的，因为他想给penelope摘星星捧月亮，所以敢于铤而走险。巴登叔是被Diaz害死的，Brad Pitt是被小玫瑰害死的（有一个预告片就说小玫瑰其实也是这其中的一枚棋子）。
而每个人去做这些事情最大的动因就是欲望，所有人都逃不过一个欲与利。聪明如Pitt以为自己的计划天衣无缝，鹬蚌相争，渔翁得利，没想到却被黄雀捕食。
最后，
法鲨真心是个好演员啊。因为这段时间看了Shame、黑金和为奴，法鲨塑造的全然不同的角色但是每个上面丝毫看不到法鲨自己的痕迹完全就是故事的主人翁啊！X men之前看的现在有点淡忘他的戏份了，因为当时也是冲着大表姐和妮子去的，所以完全没有focus法鲨一美这一对大热门CP。。。。
法鲨的哭戏，这部片里有2段吧，一个是黑涩会老大教育法鲨的时候，法鲨悔恨的哭戏，还有收到自己未婚妻的死亡录像的disk的片段自己绝望的哭泣。。。。哭得太好了。。。完全带入的让观众看到这个真正懦弱的counselor~~~~
给法鲨两颗星，penelope一颗（因为我是佩佩粉。。没办法。。。）

The yet-to-be-realised masterpiece is a film not enslaved by its narrative and characters, and simply because the full-blown ego, short attention span and the lack of ability to listen and process difficult information, PEOPLE dismiss such a film citing "who cares".

Well that's the most damaging line I constantly hear travelling in this circle, the very question involves one's existence placed on a pedestal, so anything above such naysayer's vision is put to the axes, and there's no shortage of weaponries to toy with, bad raps grow to misinformation, ultimately the message diminish itself among such PEOPLE. But really who cares right?

I do, and I'm not alone. McCarthy is a man of wisdom, and usually such a figure practice preaching among others, it was heard plainly and concisely through the Jeweller's words that serve as the theme statement of the film. As if McCarthy knew of what was coming, therefore with almost child-like revenge, he made the film more difficult to follow.

Though our main protagonist and titled character, the counselor's story carries little to no weight in the development of events took place in the story. He does not even have a name in case you haven't realised, he has no places of business and no house realised in the story's universe. The counselor is purposefully crafted to be the witness, the visual realisation of the audience inside the story. The counselor is such a role that assesses the status quo, accepts reality - be it glory or defeat, makes judgement and not real decisions and often is the target for blame.

The counselor appears sophisticated and confident, much like the audience who have so grown to take this type of crime thriller for granted that they don't even try to follow the story. Only when it begins to be more challenging, they let themselves down rattling and dismissing. Lack of real enemy and no real approach to dodge his fate, the counselor embodies the audience and is utterly clueless.

The counselor symbolises our emotional anxiety and in this film, lost the frontline battle between good and evil, as a direct consequence of avarice. Whom to suffer but the innocent wife of religious purity.

McCarthy's first spec script is a bloody good time, the man's severe obsession to death has flourished from the randomness/madness expressed in No Country For Old Man to the masterfully cunning meaninglessness (the certainty of uncertainty demonstrated by all characters in this film).

When a snuff film was delivered at the end, our wildest imagination points us nowhere near the power behind the curtains, the audience is left to mistake the femme fatale of Malkina as some sort of intimidating realisation, when all she does is putting money into the next person's hand. The avarice is the initiation, but it doesn't have to be the conclusion. Cameron Diaz's final speech provides us with insights into her drive: everything is about sex, except sex itself which is about power struggle. "Cheetah kills the jackrabbits at 70 miles per hour with elegance" then Malkina moves on to order claiming she is "famished", when the power struggle is over, it's time to enjoy the reap.

The film ends on such a high note that would normally faint the hearts of any seriously-minded audience, but it didn't for it was swiftly equipped with only two clean slices of creative murdering and introverted conversations, which are either too gruesome or too demanding of repeats during playtime. Though I sense nobody is in this business for love, I'm glad somehow that pays off in this case.

Pointers: please do not waste your time trying to understand why Malkina left the counselor alive, the counselor wondered the street one night in Boise, and literally for once in his lifetime, stood in the position of someone disadvantaged and wronged, his urge to death and departure is much greater than living the status quo, that has to be realised. More importantly the counselor means nothing to Malkina, during their brief encounter at the party, Malkina barely said high but spanked the counselor a bit, the counselor has no value in attaining the money. Remember Cheetahs attack with precision and elegance, they do not stop off for a snack attack.

看完之后可以感觉出导演的过于功利，启用了豪华的演员阵容，引用了很多富有哲理的独白。一个120分钟的电影，根本无法表现出他的初衷。
剧情过于苍白，很跳跃，细节把握的不好，主题太多，让人眼花缭乱。可惜了。


里面有句话蛮喜欢：
The world in which you seek to undo the mistakes that you made...
It's different from the world where the mistakes were made.
You er now at the crossing.
And you want to choose,but there is no choosing there.
There's only accepting.
The choosing was done a long time ago.

The Counselor不止是Ridley Scott在2013年上映的長片，也是Cormac McCarthy跨界到大銀幕之後第一套獨立完成劇本的戲。整部戲一開始就靠一套床戲開宗明義，以展現慾望（尤其是性慾）的危險。其他的暴力，血腥到最後無論多麼重口味，都變成了點綴和陪襯。也因此，這部戲在北美毫不意外地劃為R級影片，在香港是三級電影，十八歲以下人士不得觀看。儘管在片中，Ridley Scott和Cormac McCarthy連一個露點鏡頭都沒有放進去。可是別說十八歲以下，就算二十多歲的人，也未必能看到本片的核心。

導演和編劇展現了一條曖昧又明朗的敘事線，無非要告訴觀眾，性很危險。性有多危險？這部戲裏九成的生死，激化或反轉都牽扯到了性，不論是主因還是誘因，性活生生將幾個走在火山邊緣的人物拉扯進了爐心，最終渣都不剩。這樣的核心，又何止曖昧，簡直已經光天化日。

只是在導演嫺熟的鏡頭語言背後，編劇沒有拿出相應撐得起全片的對白和戲劇語言。本片的戲劇創作思路其實不複雜，希望在前面段通過數次對話描繪出事件的人物，時間，地點，事件的前因和發酵，再變奏，點燃導火線，一路敘事到底。

編劇在一開始就沒把握好尺度，語言大膽，力求通俗，但像是沒有找准節奏，不僅不性感，還有流俗之嫌。演員雖然投入，但也很難將語言和動作協調一致。但是幾次對話的人物塑造相當成功，加上明星演員的個人魅力，整個卡司幾乎都貢獻了可圈可點的表演。只是語言的問題始終貫穿了這些對話，雖然這些對話都各有戲劇功效，不可隨便刪除，但對白仍然不精煉。即便做了相當生活化的處理，卻稍顯冗長，即使作者一貫的黑色幽默也很難有所補救。

倒是變奏之後，導演功力迅速彌補了缺陷，很快進入了正題，幾場謀殺和追逐的戲，人物，道具和場景設置都非常簡單的情況下，拍成的效果可謂驚心動魄，緊迫到大氣也不能出。此前對白潛藏的信息也揮發出來，衝擊力可觀。編劇最終也算是刻畫出了人的動物本性，可惜野心太大，劇本的藍圖本身已有相當難度，或許多創作一些劇本會更嫺熟。他的所有線索，都慢慢集中到主線上來，而不是分開支線來敘述，可如果不並行敘述，線索也實在太多太紛雜了。

偶遇这片子，稀里糊涂还不知道是什么的时候就被友人拖进去看了，演员阵容果真白金级，开场一幕也震撼极了，中间几个小桥段很劲爆，特别是卡梅隆迪亚兹f*ck the Ferrari 那段，对话够酷够拽，三分之二的内容都铺垫好了的时候当我们期待一个好莱坞式的高潮，它却阳痿了，大概就是这个感觉。

说说三个男主角，三种人生啊：

法叔：别看片名是the counselor，他还真就不是主角。一个不入流的律师，追女人差钱儿就跟毒枭们有点勾结想赚外快。太爱他的女人加上有同情心（赎出青蜂侠），他无法有毒枭们应有的洒脱，纠结于爱情与金钱不仅毁了自己，还误了挚爱的女人。片末要向墨西哥同行寻求宽慰却得到了一堆人生忠告简直是黑色幽默。

巴登：一看就是个土豪，玩过的女人不少可这次魔高一尺道高一丈。他那段catfish的评论真绝了，从来没听过这个比喻，不过也从来没谁见识过卡梅隆迪亚兹对法拉利做的事情的。最后的穷途末路，死后尸首竟是被自己女神的两头猎豹宠物轻轻掠过，是这个女人开始慢慢玩弄起男人的世界的注脚。

皮特：一脸痞子相，很能让我联系起inglorious bastards里面那种为目的不择手段的人。耍酷扮帅是皮特一向的看家本领，这次竟最后栽在这上面，和Natalie Dormer (Elementary里面演Irene Adler的）那次眉来眼去丢了密码也损了人命。我觉得此人智商甚高，看起来操纵了前三分之二的剧情，成功地劫到了货赚到了钱，最后栽在女神手下也是既生瑜何生亮吧。

俩女主：

卡梅隆迪亚兹真女神，养猎豹当宠物，干男人只为乐趣，不够劲还要强暴法拉利，找神父忏悔只是想找个讲自己性生活的听众；充当所有的幕后主使，轻飘飘搞死俩男主吓死一个，最后想去中国用钻石把黑钱洗净。她还有个爱好，杀人要像猎豹一样干净利落，做个优雅有范儿的hunter，简直炫酷到爆！要是能多说说她性格的来历我就更满足了，三岁失去父母？黑帮抚育她长大？年轻时感情不顺？

Penelope Cruz - just soooo hot, 没得说，谁看了她不血脉喷张谁不是真汉子啊；男人们爱上顶级美女，并想用所有办法取悦她们的冲动是动物性的原罪。


P.S. 看大家还在讨论电影的主线内容，我就也说说。三男主是三个臭皮匠赛过诸葛亮，时而干点倒腾毒品的小生意，这次皮特盯上个大活，当然就像水浒传里的生辰纲一样，不止是他，卡梅隆迪亚兹也盯上了这2000万的货。卡梅隆迪亚兹的眼线成功地做掉青蜂侠拿到线索劫走了车，皮特没有告诉同伙的情况下独自招人把女神的货劫走了并拉到芝加哥卖钱。皮特同时玄玄乎乎地告诉法叔其他毒枭可能盯上了他以期骗他们走人，不料这时女神怒而展开了对他们三个人的捕杀..

还望大家继续讨论！